The sensor is 12bit A to D - can't change that until we work on the next camera, but it should be more than adequate for our initial needs, especially with the constraints of running at 60fps.

[a href=\"index.php?act=findpost&pid=67022\"][{POST_SNAPBACK}][/a]

I am replying from a context of CMOS still cameras, so the application may be a bit off.

It seemed to me at one time that 12-bit digitization was the main bottleneck to DR in Canon CMOS DSLRs, as ISO 1600 collects much more real-world, absolute range at the darker end, which is not present in the shadows of ISO 100. I thought that the reason was only 4096 (or less) levels, but recent experiments indicate that ISO 100 simply has about 7x as much noise, relative to absolute sensor exposure. ISO 100 is the noisiest ISO, in an absolute sense (it is quieter in practice, only because the metering calls for more absolute exposure at ISO 100). Posterizing the ISO 1600 shadows by robbing them of the 4 least significant bits does not detract from them in any significant way, and they still look much cleaner than ISO 100 with the same exposure index.

Conclusion - readout noise is currently the most significant limiting factor in dynamic range. A clean 12-bit sensor readout (readout noise at half the single bit level) would give spectacular DR at the pixel level, and even more at the image level (especially video, which "averages" pixel values in our perception, over time, while stills only average over space). IMO, Digitization of more than 12 bits of depth is of no particular value until readout noise is conquered.

We're still currently in development. Our engineering target is the end of the year, so you can't test the camera right away. If you're interested, we'll be at CineGear Expo Friday and Saturday in LA, and at IBC in Amsterdam in September.

You can email myself [email protected] if you want to keep in contact, or if you're interested enough, we're taking deposits from people who wnat to get in the queue for the camera when it's released for sale next year.

I was under the impression that their statement comes from the fact that they actually have number of cameras for testing. Anyway still believe it is a good idea, only it changes the idea I had originally of using it right now on the current music video projects which could have literally exposed the quality and push the product in the centre of the industry attention.

Sorry about that - we've all got to wait. I'm working night and day to get my aspects of the camera working, as are the other engineers and developers on the project. It's hard work, but fun work. We're talking about it now to generate interest, and feedback - we've already had great suggestions that will make it into camera, so the process is working.

What is new though, is the price - $17,500, which for a video camera of this resolution and form-factor is revolutionary.

That's pretty cheap for a camera that takes cine lenses, how much is the onbaord datastore device? At that price, I could see many film schools dropping the DV cameras and going to real digital cine cameras. The 60 fps is pretty impressive too, I assume the frame rate is really variable from about 15 up to 60. If you take a look at the specs for the Dalsa made camera, it will only do 30 (or so) fps. It's really too bad you have to use a Bayer pattern, but to hit the back focus, there really isn't another way (unless you can get a large Foveon chip).

Quote

As long as the image from the lens covers the super 35mm frame, and has a PL mount, it will work right out of the box. The DigiPrimes and DigiZooms are for 2/3" sensors are they not? If so, they won't produce a big enough image. We will have a 2/3" mount in the future, but then you're limited to a 2k centre crop of the sensor, not the full 4k.

Is that 2/3 inch mount the same as a 2/3 inch mount for a typical 3 chip video camera? If it is, the back focus length is so long that you should be able to fit some kind of optical adapter that would match/change the back focus, and expand the image circle to cover the entire sensor. I'm not completely up to speed on the cine camera specs, but I've been working with (and repairing) broadcast level video cameras for the past 15+ years.

All is going good. We're working on a number of fronts, including getting more movies and images made to show people what the sensor is capable of, while we work on the industrial and electronic design, both of which are on track.

I think we're currently looking at around March for release. Design and work continues. At IBC we announed REDCODE RAW that will record 4k onto the internal flash ram or hard drive. We also talked about REDCINE which is a super app for dealing with RED footage and performing RAW conversion on RAW video.

Lots is happening. We have shipped 100 cameras, which are out in teh field and being used now. As happens with highly technical devices, there's some issues we're fixing or have fixed, including new PL mount that has adjustable back focus, rather than use shims. It's very nice.

We have released the first editions of our RED software, RedAlert! and REDCine, Quicktime codec, and some files you can use with them.

We're working on lots of improvements and completing the camera featureset at the moment, and when the new PL mounts are ready we'll be shipping out more cameras.